{"id":38916,"date":"2025-07-07T11:00:00","date_gmt":"2025-07-07T09:00:00","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&#038;p=38916"},"modified":"2025-09-04T10:16:39","modified_gmt":"2025-09-04T08:16:39","slug":"te-deum-delalande-marais-charpentier-festival-finale","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/te-deum-delalande-marais-charpentier-festival-finale\/","title":{"rendered":"TE DEUM \/ DELALANDE \u2013 MARAIS \u2013 CHARPENTIER | FESTIVAL FINALE"},"content":{"rendered":"\n<p>On the 15th of April, 1667, two young boys joined the choir of Saint Germain l\u2019Auxerrois church in Paris. Could they have foreseen that the art of sound would captivate them so completely that it would not only become their profession but also grant them immortality? Today, Michel Richard Delalande and Marin Marais hold a significant place in the history of French music, each achieving mastery in different areas of the art. Delalande was a gifted organist and harpsichordist as well as an outstanding composer. From the moment he secured the post of one of the four <em>sous-ma\u00eetres de la musique<\/em> in 1683, he steadily climbed the ranks, eventually holding nearly all of the major musical positions at the royal court of Louis XIV. He composed both stage works and instrumental music, but the crowning jewel of his oeuvre remains his more than seventy grand motets. One of these is <em>Super flumina Babylonis<\/em>, a work divided into seven sections that vary in texture, scoring, and melodic-rhythmic devices so as to convey the meaning of the psalm text.<\/p>\n\n\n\n<p>Marin Marais, on the other hand, gained fame as a virtuoso of the viola da gamba, and it was for this instrument that he composed most extensively. His masterful command of technique allowed him to incorporate ever more innovative solutions into his works, while his exceptional sensitivity to sound enabled him to craft enchanting melodies and harmonies. In addition to his solo pieces, he also left behind some of the earliest French compositions for the trio ensemble. During the concert, we will hear the Suite in E minor from the collection <em>Pi\u00e8ces et trio pour les fl\u00fbtes, violon et dessus de viole<\/em>, first published in 1692. After a dignified prelude and a virtuosic fantasia comes a series of dances \u2013 gavotte, sarabandes, and minuets. The suite concludes with two more elaborate miniatures: the wistful <em>Caprice<\/em> and the inventive <em>Passacaglia<\/em>.<\/p>\n\n\n\n<p>The festival will conclude with the monumental <em>Te Deum<\/em> H.146 by Marc-Antoine Charpentier. It is no coincidence that the work is set in D major \u2013 a key associated with joy, light, and triumph. Its bright and festive character is accentuated by the extensive ensemble, showcasing varied instrumentation across different movements. The prelude that opens the work is perhaps the most famous musical motif to emerge from the French Baroque. Today, it serves as a ceremonial fanfare for important events, and since it is the signal of the European Broadcasting Union, it opens every Eurovision Song Contest \u2013 sometimes in quite daring arrangements. During our concert, however, it will be heard in its original form, as close as possible to how it might have sounded to the splendid yet tasteful court of Le Roi Soleil.<\/p>\n\n\n\n<p class=\"has-text-align-right has-cyan-bluish-gray-color has-text-color has-link-color has-small-font-size wp-elements-5af144a26c44d018e29c9e83b7b41835\">Marta Dziewanowska-Pachowska<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-center\">PROGRAM<\/h4>\n\n\n\n<p class=\"has-text-align-center\">Michel Richard Delalande (1657-1726) \u2013 <em>Super flumina Babylonis<\/em> S.13<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\"><em>Simphonie. Super flumina Babylonis<br>In salicibus \/ Quia illic interrogaverunt nos<br>Hymnum cantate nobis \/ Quomodo cantabimus \/ Cantate nobis hymnum \/ In terra aliena<br>Si oblitus fuero tui<br>Adhaerat lingua mea<br>Memor esto, Domine<br>Filia Babilonis misera<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center\">Marin Marais (1656-1728) \u2013 Suite en trio e minore<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\"><em>Pr\u00e9lude lentement<br>Fantaisie<br>Gavotte<br>Rondeau<br>Sarabande en rondeau<br>Menuet I<br>Sarabande<br>Menuet II<br>Caprice lentement<br>Passacaille<\/em><\/p>\n\n\n\n<p class=\"has-text-align-center\">Marc-Antoine Charpentier (1643-1704) \u2013 <em>Te Deum<\/em> H.146<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\"><em>Pr\u00e9lude<br>Te Deum laudamus<br>Te aeternum Patrem \/ Pleni sunt caeli et terra<br>Te per orbem terrarum<br>Tu devicto mortis aculeo \/ Judex crederis<br>Te ergo quaesumus<br>Aeterna fac cum sanctis<br>Dignare Domine<br>Fiat misericordia tua<br>In te, Domine, speravi<\/em><\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-center\">PERFORMERS<\/h4>\n\n\n\n<p class=\"has-text-align-center\"><strong>JULIA PLI\u015a<\/strong> SOPRANO<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/operakrolewska.pl\/en\/artysci\/iwona-lubowicz\/\">IWONA LUBOWICZ<\/a><\/strong> SOPRANO<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/operakrolewska.pl\/en\/artysci\/aneta-lukaszewicz\/\">ANETA \u0141UKASZEWICZ<\/a><\/strong> ALTO<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>ALEKSANDER REWI\u0143SKI<\/strong> TENOR<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/operakrolewska.pl\/en\/artysci\/pawel-michalczuk\/\">PAWE\u0141 MICHALCZUK<\/a><\/strong> BASS<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>THE CHAMBER CHOIR OF THE POLISH ROYAL OPERA<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/operakrolewska.pl\/en\/the-period-instruments-ensemble-of-the-polish-royal-opera-capella-regia-polona\/\">THE PERIOD INSTRUMENTS ENSEMBLE OF THE POLISH ROYAL OPERA CAPELLA REGIA POLONA<\/a><\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>RENATA SZCZYPIOR<\/strong> CHOIR MASTER<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><a href=\"https:\/\/operakrolewska.pl\/en\/artysci\/krzysztof-garstka\/\">KRZYSZTOF GARSTKA<\/a><\/strong> POSITIVE ORGAN \/ HARPSICHORD, CONDUCTOR<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>Duration: approx. 1h 15 mins<\/p>\n\n\n\n<p>The seats in the auditorium are not numbered.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"has-text-align-center\"><strong>PATRON OF THE POLISH ROYAL OPERA<\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-medium\"><a  href=\"https:\/\/operakrolewska.pl\/wp-content\/uploads\/2025\/07\/poziom.jpg\" data-rel=\"lightbox-gallery-0\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"170\" src=\"https:\/\/operakrolewska.pl\/wp-content\/uploads\/2025\/07\/poziom-300x170.jpg\" alt=\"LOGOTYP TOTALIZATOR SPORTOWY 70 LAT\" class=\"wp-image-39623\" srcset=\"https:\/\/operakrolewska.pl\/wp-content\/uploads\/2025\/07\/poziom-300x170.jpg 300w, https:\/\/operakrolewska.pl\/wp-content\/uploads\/2025\/07\/poziom-768x436.jpg 768w, https:\/\/operakrolewska.pl\/wp-content\/uploads\/2025\/07\/poziom-365x206.jpg 365w, https:\/\/operakrolewska.pl\/wp-content\/uploads\/2025\/07\/poziom-860x485.jpg 860w, https:\/\/operakrolewska.pl\/wp-content\/uploads\/2025\/07\/poziom.jpg 880w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><\/figure><\/div>","protected":false},"excerpt":{"rendered":"<p>On the 15th of April, 1667, two young boys joined the choir of Saint Germain l\u2019Auxerrois church in Paris. Could they have foreseen that the art of sound would captivate them so completely that it would not only become their profession but also grant them immortality? Today, Michel Richard Delalande and Marin Marais hold a [&hellip;]<\/p>\n","protected":false},"author":15,"featured_media":20629,"template":"","meta":{"_acf_changed":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[1,21],"cykle":[103],"sezon":[],"class_list":["post-38916","repetoire","type-repetoire","status-publish","has-post-thumbnail","hentry","category-bez-kategorii","category-uncategorized","cykle-the-4th-baroque-festival-of-the-polish-royal-opera-french-music"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>TE DEUM \/ DELALANDE \u2013 MARAIS \u2013 CHARPENTIER | FESTIVAL FINALE - Polska Opera Kr&oacute;lewska<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/operakrolewska.pl\/en\/repetoire\/te-deum-delalande-marais-charpentier-festival-finale\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"TE DEUM \/ DELALANDE \u2013 MARAIS \u2013 CHARPENTIER | FESTIVAL FINALE - Polska Opera Kr&oacute;lewska\" \/>\n<meta property=\"og:description\" content=\"On the 15th of April, 1667, two young boys joined the choir of Saint Germain l\u2019Auxerrois church in Paris. Could they have foreseen that the art of sound would captivate them so completely that it would not only become their profession but also grant them immortality? 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